Contemporary man has developed a lifestyle that seems full of experiences from an intense life essentially supported by the major developments in communication technology. Yet everything points to a kind of mental illusion that covers up solitude and ultimately desolation, as true and meaningful communication fades into lack of mutual understanding and solidarity. The viewers, experiencing a state of isolation and projecting their reality through the vision of some desolate place that suddenly conquers his thoughts, use their own personal approach to create a limitless setting associated with their particular experiences, memories and emotions. Confusing illusion with reality, the artists attempt to explore and convey the effects of the desolation resulting from the diverging views of people due to their differences. They oscillate between conscious and unconscious, challenging viewers to discover their limits as they come against the desolation of the imaginary places and the denudation of their soul.
In his works Kostas Papas attempts to explore nonexistent places, potential “barren lands”. The imaginary objects and edifices in his compositions leave the viewer with the impression that they are familiar from another dreamy dimension in which he exist as mere observer, uninvolved in what may be happening around him.
Aliki Pappa proposes some escape points to this aloof and isolated observer, as the notion of perspective is constantly undermined in her works, precisely in order to underscore man’s entrapment in his personal world which is empty of any other human figure that is active, emotionally or at least in practical terms.
Antonis Kapnisis deals with the condition of a fictional world that emerges from the formation of a universe at once imaginary and rational. His works hint at the fluid condition of a devised space populated by the geometric entities of phantasmagorical shapes and lines. These architectural creations point to man’s mental capacity and need to define the unstable condition that surrounds him.